Third International Conference on Technologies for Music Notation and Representation TENOR 2017

The third International Conference on Technologies for Music Notation and Representation seeks to focus on a set of specific research issues associated with Music Notation that were elaborated at the first two editions of TENOR in Paris and Cambridge. The theme of the conference is vocal music, whereas the pre-conference workshops focus on innovative technological approaches to music notation

Onset Event Decoding Exploiting the Rhythmic Structure of Polyphonic Music

(c)2011 IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other users, including reprinting/ republishing this material for advertising or promotional purposes, creating new collective works for resale or redistribution to servers or lists, or reuse of any copyrighted components of this work in other works. Published version: IEEE Journal of Selected Topics in Signal Processing 5(6): 1228-1239, Oct 2011. DOI:10.1109/JSTSP.2011.214622

CLiFF Notes: Research In Natural Language Processing at the University of Pennsylvania

The Computational Linguistics Feedback Forum (CLIFF) is a group of students and faculty who gather once a week to discuss the members\u27 current research. As the word feedback suggests, the group\u27s purpose is the sharing of ideas. The group also promotes interdisciplinary contacts between researchers who share an interest in Cognitive Science. There is no single theme describing the research in Natural Language Processing at Penn. There is work done in CCG, Tree adjoining grammars, intonation, statistical methods, plan inference, instruction understanding, incremental interpretation, language acquisition, syntactic parsing, causal reasoning, free word order languages, ... and many other areas. With this in mind, rather than trying to summarize the varied work currently underway here at Penn, we suggest reading the following abstracts to see how the students and faculty themselves describe their work. Their abstracts illustrate the diversity of interests among the researchers, explain the areas of common interest, and describe some very interesting work in Cognitive Science. This report is a collection of abstracts from both faculty and graduate students in Computer Science, Psychology and Linguistics. We pride ourselves on the close working relations between these groups, as we believe that the communication among the different departments and the ongoing inter-departmental research not only improves the quality of our work, but makes much of that work possible

A Parse-based Framework for Coupled Rhythm Quantization and Score Structuring

International audienceWe present a formal language-based framework for MIDI-to-score transcription, the problem of converting a sequence of symbolic musical events with arbitrary timestamps into a structured music score. The framework aims at solving in one pass the two subproblems of rhythm quantization and score production. It relies, throughout the process, on an apriori hierarchical model of scores given by generative grammars. We show that this coupled approach helps to make relevant and interrelated decisions, and we present an algorithm computing transcription solutions optimal with respect to both the fitness of the quantization to the input, and a measure of complexity of music notation

Proceedings of the 4th International Workshop on Reading Music Systems

The International Workshop on Reading Music Systems (WoRMS) is a workshop that tries to connect researchers who develop systems for reading music, such as in the field of Optical Music Recognition, with other researchers and practitioners that could benefit from such systems, like librarians or musicologists. The relevant topics of interest for the workshop include, but are not limited to: Music reading systems; Optical music recognition; Datasets and performance evaluation; Image processing on music scores; Writer identification; Authoring, editing, storing and presentation systems for music scores; Multi-modal systems; Novel input-methods for music to produce written music; Web-based Music Information Retrieval services; Applications and projects; Use-cases related to written music. These are the proceedings of the 4th International Workshop on Reading Music Systems, held online on Nov. 18th 2022.Comment: Proceedings edited by Jorge Calvo-Zaragoza, Alexander Pacha and Elona Shatr

Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo"

Waterhouse E, Watts R, Bläsing B. Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo". Frontiers in Human Neuroscience. 2014;8:812.Entrainment theory focuses on processes in which interacting (i.e., coupled) rhythmic systems stabilize, producing synchronization in the ideal sense, and forms of phase related rhythmic coordination in complex cases. In human action, entrainment involves spatiotemporal and social aspects, characterizing the meaningful activities of music, dance, and communication. How can the phenomenon of human entrainment be meaningfully studied in complex situations such as dance? We present an in-progress case study of entrainment in William Forsythe's choreography Duo, a duet in which coordinated rhythmic activity is achieved without an external musical beat and without touch-based interaction. Using concepts of entrainment from different disciplines as well as insight from Duo performer Riley Watts, we question definitions of entrainment in the context of dance. The functions of chorusing, turn-taking, complementary action, cues, and alignments are discussed and linked to supporting annotated video material. While Duo challenges the definition of entrainment in dance as coordinated response to an external musical or rhythmic signal, it supports the definition of entrainment as coordinated interplay of motion and sound production by active agents (i.e., dancers) in the field. Agreeing that human entrainment should be studied on multiple levels, we suggest that entrainment between the dancers in Duo is elastic in time and propose how to test this hypothesis empirically. We do not claim that our proposed model of elasticity is applicable to all forms of human entrainment nor to all examples of entrainment in dance. Rather, we suggest studying higher order phase correction (the stabilizing tendency of entrainment) as a potential aspect to be incorporated into other models

GenoMus: Representing Procedural Musical Structures with an Encoded Functional Grammar Optimized for Metaprogramming and Machine Learning

We present GenoMus, a new model for artificial musical creativity based on a procedural approach, able to represent compositional techniques behind a musical score. This model aims to build a framework for automatic creativity, that is easily adaptable to other domains beyond music. The core of GenoMus is a functional grammar designed to cover a wide range of styles, integrating traditional and contemporary composing techniques. In its encoded form, both composing methods and music scores are represented as one-dimensional arrays of normalized values. On the other hand, the decoded form of GenoMus grammar is human-readable, allowing for manual editing and the implementation of user-defined processes. Musical procedures (genotypes) are functional trees, able to generate musical scores (phenotypes). Each subprocess uses the same generic functional structure, regardless of the time scale, polyphonic structure, or traditional or algorithmic process being employed. Some works produced with the algorithm have been already published. This highly homogeneous and modular approach simplifies metaprogramming and maximizes search space. Its abstract and compact representation of musical knowledge as pure numeric arrays is optimized for the application of different machine learning paradigms.FEDER/Junta de Andalucia A.TIC.244.UGR20 Spanish GovernmentEuropean Commission PID2021-125537NA-I0